“MERCY STREET” Season Two (2017) Episode Ranking

Below is my ranking of the Season Two episodes of the PBS Civil War medical series called “MERCY STREET”. Created by Lisa Wolfinger and David Zabel, the series starred Mary Elizabeth Winstead, Hannah James and Josh Radnor:

“MERCY STREET” SEASON TWO (2017) EPISODE RANKING

1. (2.05) “Unknown Soldier” – French-born anatomical artist/war observer Lisette Beaufort uses her art skills to help the Mansion House Hospital staff identify a disfigured and amnesiac soldier. Nurse Anne Hastings joins Dr. Byron Hale’s efforts to undermine the authority of the new hospital chief, Major Clayton McBurney. And the Green family buckle under the emotional stress from Detective-turned-Secret Service Head Allan Pinkerton’s investigation into the disappearance of Union officer staying at their home and James Jr.’s gun smuggling operation for the Confederacy

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2. (2.06) “House of Bondage” – In this series finale, Dr. Jed Foster accompanies Samuel Diggs, who is going to a Philadelphia medical school. On the way, the pair pay a visit to the former’s family plantation in Maryland. Meanwhile, the Greens endure a political setback following the Union victory at Antietam and put an end to Pinkerton’s investigation of their missing military guest.

 

3. (2.02) “The House Guest” – A Union officer staying as a guest at the Greens’ home attracts the attention of Alice Green, now a Confederate spy and member of the Knights of the Golden Circle. The Mansion House’s head nurse, Mary McPhinney, succumbs to typhoid fever. And the no nonsense hospital chief, Major McBurney arrives.

 

4. (2.04) “Southern Mercy” – Following the Second Battle of Bull Run, Emma Green and Union Chaplain Hopkins set out to rescue a stranded group of wounded Union soldiers. Hospital observer Lisette discovers the truth about a young soldier, which shocks Dr. Foster. Hospital Matron Brennan’s son arrives at Mansion House, seeking a medical deferment from combat. And while hotel owner James Green proposes a “cotton diplomacy” plan to Confederate officials for European recognition, James Jr.’s gun smuggling operation is threatened when two of his free black employees stumble upon it.

 

5. (2.01) “Balm in Gilead” – In the season opener, the Mansion House staff unites to save one of their own. A former slave turned activist named Charlotte Jenkins arrives in Alexandria, Virginia to help stem a smallpox epidemic among the contraband population and causes a rift between Mary and the less racially tolerant Dr. Foster. And Samuel plans for a reunion up north with Aurelia, the former slave with whom he had fallen in love back in the first season.

 

6. (2.03) “One Equal Temper” – Due to James Jr.’s murder of the Union officer that Alice was spying on, Pinkerton becomes even more interested in the Green family. Also, Alice helps Emma’s beau, spy Frank Stringfellow escape and the pair encounters a Quaker farm couple while evading Union troops. Also, Major McBurney orders Dr. Foster and Miss Hastings to attend a high-ranking officer at a nearby Union Army camp in order to distance the doctor from an ailing Mary.

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“THE GAMBLER FROM NATCHEZ” (1954) Review

“THE GAMBLER FROM NATCHEZ” (1954) Review

A few years ago, I had reviewed an old 1953 Tyrone Power movie called “THE MISSISSIPPI GAMBLER”. This 1953 movie proved to be a mixture of a costume melodrama and adventure that chronicled the adventures of a Northern-born gambler who moves to New Orleans to start his own casino. The following year saw the release of another movie with a similar theme called “THE GAMBLER FROM NATCHEZ”

There are differences between “THE GAMBLER FROM NATCHEZ” and “THE MISSISSIPPI GAMBLER”. The latter film featured a top film star – Tyrone Power. And I can only assume that it was one of Universal Pictures’ “A” films for 1953. It was certainly a big hit. On the hand, one glance at “THE GAMBLER FROM NATCHEZ” and a person was bound to regard it as a “B” movie. The film’s lead, Dale Robertson, was never big as Power. He was mainly known as a television star during the 1950s and 1960s. And his Hollywood career had only started five years before this film.

“THE GAMBLER FROM NATCHEZ” began in 1848 Baton Rouge with the arrival of a discharged Army militia officer named Captain Vance Colby, who had fought in Texas and Mexico during the Mexican-American War. In response to a message from a close family friend, Vance planned to travel down to New Orleans on horseback to meet his father, a famous and successful professional gambler named Chip Colby. During his journey, he meets a beautiful Creole aristocrat named Ivette Rivage and comes to her aid, when her carriage’s horse becomes lame. She invites him to her family’s plantation, Araby, where he meets her brother Andre Rivage and her fiance Claude St. Germaine. The two men react coldly upon learning of Vance’s relation to his father, who has recently been accused of being a card cheat.

Following Vance’s departure from Araby, he is attacked by Andre’s hired thug, Etienne. Riverboat captain Antoine Barbee and his daughter Melanie, whom Vance had first met in Baton Rouge, come to the wounded Vance’s aid. Upon his arrival in New Orleans, Vance learns that his father was killed and framed for card cheating by three men – casino owner Nicholas Cadiz, Claude St. Germaine and Andre Rivage. Colby Sr. had won half interest in a new gambling vessel that the three accusers had plans to launch. Upon learning this Vance vows revenge against his father’s enemies.

I first saw “THE GAMBLER FROM NATCHEZ” on late night television when I was a teenager. Which means that MANY years had passed since my recent viewings. I wondered if my opinion of the film would change. To my surprise, I discover that it had not. As I had earlier stated, “THE GAMBLER FROM NATCHEZ” struck me as a “B” swashbuckler. Although the film was released through Twentieth Century Fox, it was made by a production company called Panoramic Pictures that released a series of low budget films during the 1950s. And yes . . . it was quite obvious that “THE GAMBLER FROM NATCHEZ” was a low budget film.

I noticed that for a movie set in the lower Mississippi River Valley, I cannot recall seeing any hint or sign of water in it, aside from the swamp (or a back lot pond) where Vance Colby was wounded and the body of water (or back lot pond) where one of the villains fell from a riverboat. I am still amazed that Chester Bayhi’s set decorations and art director Leland Fuller managed to convey the movie’s late 1840s setting with some plausibility – especially in scenes featuring the interior sets for the Araby plantation, Nicholas Cadiz’s New Orleans casino and the parlor of Andre Rivage’s new steamboat.

On the other hand, I had a problem with Travilla’s costumes. His costumes for the movie’s actors, especially leading man Dale Robertson. Travilla did an excellent job in recapturing the men’s fashion for that era, including the U.S. Army officer uniform that Robertson wore during the film’s first half hour. I wish I could say the same for the women’s costumes in the movie. Well, I found most of them a somewhat adequate representation of women’s fashion in the late 1840s – especially those costumes worn by actress Lisa Daniels. But Travilla’s designs for leading lady Debra Paget’s costumes . . . what on earth?

Paget wore at least two or three more costumes in the film that struck me as a bit more tolerable. But she wore the one featured in the image above more than the others Now, I realize that her character, Melanie Barbee, was the daughter of a man who owned and operated a minor steamboat. But this is the 1840s we are talking about. Melanie was definitely not a prostitute or daughter of a poor backwoodsman. Her father owned a steamboat, even if it was second-class. A woman of her background and time would never be caught dead wearing such an outfit out in the open for everyone to see, let alone in the lobby of an exclusive New Orleans hotel.

I might have some issues with “THE GAMBLER FROM NATCHEZ”. But if I must be honest, my opinion of the film has not changed over the years. I still managed to enjoy it. During my review of “THE MISSISSIPPI GAMBLER”, I had complained about the film’s vague and episodic narrative. I certainly had no such problems with “THE GAMBLER FROM NATCHEZ”. I thought Gerald Adams and Irving Wallace had created a solid and entertaining story about a mid-19th century gambler who sought revenge against the men who had killed his father and ruined the latter’s reputation. In fact, I cannot help but feel somewhat impressed by how Adams and Wallace had structured the movie’s plot.

The two screenwriters set up the plot by allowing the protagonist, Vance Colby, to encounter a series of mysteries surrounding his father. From the fight he participated in with another gambler during his arrival at Baton Rouge via steamboat to the discovery of Chip Colby’s death, Vance seemed encounter one mystery after another. Midway into the film, Adams and Wallace allowed Vance to finally discover the true mysteries behind Colby Senior’s recent reputation as a card cheat, Andre Rivage’s murder attempt on his life and Colby Senior’s death. Upon this point, the plot for “THE GAMBLER FROM NATCHEZ” focused solely on Vance’s desire for revenge against the three men responsible for his father’s death. Through it all, Adams and Wallace created a light love triangle between Vance and two women – the steamboat captain’s daughter, Melanie Barbee; and Ivette Rivage, who proved to be more superior than her morally bankrupt brother.

The movie also benefited from a first-rate cast. By 1954, Dale Robertson had been around Hollywood for five years. Although he never became a big star like Tyrone Power, his excellent performance as the strong-willed and determined Vince Colby made it pretty obvious why his acting career lasted for the next four decades – mainly in television. He also managed to create a strong screen chemistry with his leading lady, Debra Paget. She gave a very entertaining and superb performance as the feisty Melanie Barbee, who quickly fell in love with Vance while saving his skin on at least two or three occasions. Robertson also had a strong screen chemistry with Lisa Daniels, the British actress who portrayed the Creole aristocrat, Ivette Rivage. I believe Ivette proved to be a more complex character than any other in this film. She had to be regarded as the wrong woman for Vance, yet portrayed in a more sympathetic light than her brother. And I believe Daniels managed to skillfully achieve this balance in her performance.

I find it odd that Kevin McCarthy ended up in a low-budget film some three years after appearing in the film adaptation of Arthur Miller’s play, “DEATH OF A SALESMAN”. Well . . . regardless of how he must have felt at the time, McCarthy proved to be the first-rate actor and consummate professional who portrayed Andre Rivage as the charming, yet violent aristocrat whose temper and gambling addiction set the story in motion. Another excellent supporting performance came from Thomas Gomez, who portrayed Vance’s new friend and Melanie’s father, steamboat Captain Antoine Barbee. Gomez did an excellent job in conveying Captain Barbee’s friendly and pragmatic personality . . . and providing a brief father figure for Vance. The movie also featured solid performances from Douglas Dick (who portrayed the spineless Claude St. Germaine), John Wengraf (who portrayed the intimidating Nicholas Cadiz), Jay Novello, Peter Mamakos, Donald Randolph, and Henri Letondal. And guess who else was in this film? Woody Strode, who portrayed Josh, one of Captain Barbee’s crewmen. Or only crewman. Hell, I am not even certain whether he portrayed a free man or a slave. But his character did help the main hero defeat the “Big Bad” in a way that will prove to be very surprising for a film made in the 1950s.

I realize that “THE GAMBLER FROM NATCHEZ” is not perfect. But for a low-budget film, it proved to possess a very well-structured and well-written narrative, thanks to screenwriters Gerald Adams and Irving Wallace. Although I regard the story to be the backbone of any film, director Henry Levin could have have ruined it with bad direction. But he did not. Instead, I believe Levin and a cast led by Dale Robertson did more than justice to the screenplay. Perhaps this is why after so many years, I still managed to enjoy this film.

Five Favorite Episodes of “INDIAN SUMMERS” Season Two (2016)

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Below is a list of my five favorite episodes from Season Two of the British series, “INDIAN SUMMERS”. Created by Paul Rutman, the series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Waters: 

FIVE FAVORITE EPISODES OF “INDIAN SUMMERS” SEASON TWO (2016)

1 - 2.09 Winner Takes All

1. (2.09) “Winner Takes All” – In this penultimate episode, Civil Service employee Aafrin Dalal sets up his plans to elope with the sister of his employer Ralph Whelan, Alice Whelan Havistock and rescue her from her abusive husband. Meanwhile, Ralph fails to become India’s next viceroy.

2 - 2.04 The Empty Chair

2. (2.04) “The Empty Chair” – While Aafrin and Alice conduct their affair, the former’s sister, Sooni Dalal forces him to reveal his involvement in the Independence Party and the murder of a fellow activist named Kaira. Meanwhile, Ralph’s wife, Madeleine Whelan organizes a fashion show for the Royal Simla Club. And Lord Hawthorne becomes the target of a violent act and suspicion falls upon a local woman named Leena Prasad, whom he had hired as his children’s nanny and toward whom he has lustful designs.

3 - 2.06 A Gift For the King

3. (2.06) “A Gift For the King” – While the British prepare for their picnic to commemorate King George V’s Silver Jubilee, a violent Independence Party activist named Naresh Banerjee plots to deliver a deadly bomb to the event, using an innocent orphan named Chota Matthew.

4 - 2.05 Hide and Seek

4. (2.05) “Hide and Seek” – Aware that his illegitimate son, Adam had attacked Lord Hawthorne to protect Leena, Ralph arranges for the former to be sent to Delhi to avoid arrest. However, missionary Dougie Raworth is unable to dissuade Leena from taking the blame. Meanwhile, Ralph learns the truth about his parentage from his mentor, Royal Simla Club owner Cynthia Coffin.

5 - 2.10 Leaving Home

5. (2.10) “Leaving Home” – Alice and Charlie Havistock prepare to leave India for good, after he prevents her elopement with Aafrin. Ralph and Aafrin make momentous decisions about their careers. Cynthia is in a bidding war as the Whelans’ Simla home, Chotipool, goes under the hammer.

“IRONCLADS” (1991) Review

“IRONCLADS” (1991) Review

Between the late 1980s and the first few years of the 21st century, communications mogul Ted Turner had produced or oversaw a series of period dramas in the forms of movies and miniseries. Aside from two or three productions, most of them were aired as television movies on the cable network TNT, which is owned by the Turner Broadcasting System. One of those productions was the 1991 movie, “IRONCLADS”

Set during the first year of the U.S. Civil War, “IRONCLADS” is a fictional account of the creations of the first two American ironclads, C.S.S. Virginia (also known as the U.S.S. Merrimack) and the U.S.S. Monitor, and their clash during the Battle of Hampton Roads in March 1862. The movie began in April 1861 with the U.S. Navy personnel being forced to evacuate the Gosport Navy Yard at Norfolk, Virginia, following the state of Virginia’s secession from the United States. During the evacuation, Quartermaster’s Mate Leslie Harmon deliberately interfered with the militarily necessary demolition of the Navy Yard’s dry dock at Hampton Roads Naval Base in order to prevent collateral damage and civilian casualties in the city, as Confederates overran the base. While stationed in Norfolk, Leslie had made friends. Unfortunately, his actions were noticed and he found himself facing court-martial. It seemed the newly formed Confederate Navy used the undamaged naval yard to raise the sunken U.S.S. Merrimack and refit it into an ironclad ship.

Union officer Commodore Joseph Smith gave him the choice between facing court-martial or serving as a Union spy. Leslie was assigned to work with a Virginia belle from Norfolk named Betty Stuart, who had become an abolitionist and Unionist during her years at a boarding school in Baltimore. Betty had also recruited her mother’s maid named Opal and the latter’s husband, Cletus, as part of her spy ring. Using Leslie’s past actions during the Union evacuation as an excuse to label him a Confederate sympathizer, Betty introduced him to Norfolk society. This allowed the pair to spy upon the activities surrounding the development of the Confederate Navy’s new ironclad ship. At the same time, the Union Navy recruited John Ericsson to design their own ironclad ship.

Many years – and I do mean many of them – had passed since I last saw “IRONCLADS”. It is a miracle that I was able to watch it, considering that it has yet to be released on DVD. When I first saw “IRONCLADS” over twenty years ago, I had been impressed, despite it being a low-budget television movie that aired on a Basic cable station. But seeing it again after twenty-five years or so . . . I am still impressed. I honestly did not think this movie would hold up after a quarter of a century. Mind you, “IRONCLADS” had its flaws. I think this movie could have been longer . . . at least thirty (30) to forty-five (45) minutes longer. After all, it is about the first two ironclads in both U.S. and world history and I believe that Leslie and Betty’s activities as spies in Norfolk could have been expanded a bit.

But my one real problem with the movie is the romance between Betty Stuart and Lieutenant Catesby ap Roger Jones of the Confederate Navy. It was bad enough that Lieutenant Jones, who was roughly 39 to 40 years old during the movie’s setting was portrayed by actor Alex Hyde-White, who must have been at least roughly 31 years old during the movie’s production. Worse, Betty Stuart was a fictional character. Lieutenant Jones . . . was not. The movie did an excellent job in portraying historical characters such as John Ericsson, Commodore Joseph Smith, Captain Franklin Buchanan of the C.S.S. Virginia, Secretary of the Navy Gideon Welles and yes, President Abraham Lincoln. But the movie made a major misstep in creating a romance between the fictional Betty and the historical Lieutenant Jones. I hate it when writers do that. I still have bad memories of George MacDonald Fraser allowing a historical character to be the illegitimate son of his fictional character, Harry Flashman. And the real Catesby ap Jones was already a married man with children during that first year of the Civil War. For the likes of me, I could not understand why screenwriter Harold Gast could not allow Betty to have a romance with another fictional character, who happened to serve aboard the C.S.S. Virginia under Buchanan and Jones.

Despite the above problems, I can honestly say that I still managed to enjoy “IRONCLADS”. Thanks to Delmar Mann’s direction and Harold Gast’s screenplay, the movie proved to be a heady mixture of espionage, military conflict and history. Step-by-step, the movie took television viewers on a road mixed with fiction and fact to that famous sea battle that stunned the rest of the world. What I found even more interesting – and I am sure that many might find this a reason to criticize – is that in an odd way, the production provided well-rounded characters from both the North and the South.

The Betty Stuart character proved to be rather ambiguous. She was a product of the Virginia upper-class, who became an abolitionist and pro-Union . . . without informing her friends and family about her change of allegiance. And yet, her love for Lieutenant Jones led her to betray her allegiance and beliefs. Her situation proved to be so complicated that the only advice I can give is to watch the film, if you can find it. Another complicated character proved to be the Northern-born navy quartermaster-turned-spy, Leslie Harmon. He got into trouble in the first place, because he thought more of the Norfolk civilians than destroying that dry dock. And while one can admire him for his humanity, I found it interesting that he never really considered the slaves who served the upper-and-middle-class citizens of that city. Until he became a spy and witnessed a Confederate Naval intelligence officer named Lieutenant Gilford harshly ordered Cletus to provide another glass of champagne for him. Leslie eventually confessed that he had never paid attention to Norfolk’s slaves before the war.

As anyone can see, the topic of slavery managed to play a strong role in this production. After all, Betty’s embrace of the abolitionist movement led her to become a pro-Union spy against her fellow Virginians. And she had recruited two of her mother’s slaves as part of her slave ring. What I found interesting about this movie is that it presented two incidents in which Opal and Cletus had individually faced the price of being slaves. I have already mentioned Leslie witnessing Lieutenant Gilford’s harsh and racist attitude toward Cletus. But for me, I was really put off by Mrs. Stuart’s decision to limit Opal’s “visit” to her sister to once a year. It was the manner in which she made this order. I found it cool, subtle, indifferent and self-involved. Naturally, Opal serving Mrs. Stuart’s needs was more important than the latter having the opportunity to see a relative.

However, this story is about the Monitor and the Merrimack. As I had earlier stated, the movie did a pretty damn good job in leading up to the events of the Battle of Hampton Roads. But let us be honest . . . the actual battle proved to be the movie’s pièce de résistance – from that first day when the Merrimack nearly made the Union blockade near Norfolk and Newport News obsolete; to the second in which the two ironclads faced each other. In fact, the battle took up the entire second half. Here, I think Mann, along with film editor Millie Moore, visual effects artist Doug Ferris and the special effects team led by Joel P. Blanchard did an exceptional job of re-creating the Battle of Hampton Roads.

However, the Battle of Hampton Roads sequence was not the only aspect of “IRONCLADS” that I enjoyed. Moore, Ferris and the visual and special effects teams did an admirable job in recreating Washington D.C. and Northern Virginia circa 1861-62. Their work was ably supported by Joseph R. Jennings’ production designs; the sound effects created by the sound editing team led by Burton Weinstein; the sound mixing team led by Kenneth B. Ross; Joseph R. Jennings’ production designs. By the way, the two sound teams both earned Emmy nominations for their work. I was surprised to discover that another Emmy nomination was given to Noel Taylor for his costume designs. Do not get me wrong. I enjoyed looking at them, especially those costumes worn by Virginia Masden, as shown below:

I found Taylor’s costumes colorful and yes . . . beautiful to look at. But if I must be honest, his costumes seemed to have a touch of late 20th century glamour – namely those worn by the Virginian elite – that I found unrealistic.

Looking back at “IRONCLADS”, I can honestly say that there was not a performance that blew my mind. The television movie did not feature a performance I would consider worthy of an Emmy nomination. Solid performances came from the likes of E.G. Marshall, Kevin O’Rourke, Leon B. Stevens, Carl Jackson, Andy Park, Burt Edwards and Marty Terry. I thought James Getty was pretty serviceable as President Abraham Lincoln. However, I think he managed to really evoke the memory of “Old Abe” with one particular line – “All I can say is what the girl said when she put her foot in the stocking. It (the U.S.S. Monitor) strikes me there’s something in it.”

But there were performances that I found very noticeable and effective. One would think that Philip Casnoff’s portrayal of naval intelligence officer, Lieutenant Guilford, to be a remake of the villainous character he had portrayed in the television adaptations of John Jakes’ “North and South” novels. However, Casnoff’s Guilford was no copycat of Elkhannah Bent. The actor effectively portrayed a cool and ruthless spymaster willing to do what it took to protect his new nation. Joanne Dorian gave a very interesting and varied performance as Betty Stuart’s shallow and self-involved mother, Blossom Stuart. At times, I found her portrayal of Mrs. Stuart hilarious or amusing. And yet . . . there was that scene in which the actress conveyed the ugliness of her character’s selfishness and racism.

Another performance that caught my eye came from Beatrice Bush, who portrayed Mrs. Stuart’s enslaved maid, Opal and Betty’s fellow spy. During the teleplay’s first half, Bush gave a solid performance. But I was truly impressed by how the actress had expressed Opal’s shock and suppressed anger over Betty’s decision to inform Catesby about their findings regarding the C.S.S. Virginia’s plating. I wsa impressed by how Bush effortlessly expressed Opal’s anger without allowing the character to lose control. I also enjoyed Fritz Weaver’s portrayal of John Ericsson, the Swedish-born immigrant, who became one of the best naval engineers of the 19th century and designer of the U.S.S. Monitor. Weaver gave a very entertaining performance as the tart-tongued engineer who was constantly irritated by U.S. Navy and the Lincoln Administration’s doubts over his work or the use of iron clad ships.

Alex Hyde-White gave a charismatic portrayal of Confederate Naval officer, Lieutenant Catsby ap Jones. The actor did a good job in conveying his character charm, professionalism. He also effectively conveyed Jones’ anger and confusion upon discovering his love’s role as a Union spy. I really enjoyed Reed Diamond’s engaging portrayal of the earnest Union Navy quartermaster, Leslie Harmon. I enjoyed how his character had learned a lesson about himself and what this war was about. He also gave, what I believe to be one of the best lines in the movies. Both Hyde-White and Reed managed to create solid chemistry with leading actress, Virginia Madsen.

Speaking of Madsen, and managed to create a solid screen chemistry with lead Virginia Madsen. Superficially, Madsen’s Betty Stuart seemed like the typical lead in a period drama – a beautiful and noble woman of high birth who has become dedicated to a cause. What made Betty interesting is that she was a Southern-born woman from a slave-owning family who became a dedicated abolitionist. And this led her to become an effective and yes, manipulative spy. But what I found interesting about Madsen’s skillful portrayal is that her character proved to be surprisingly a bit complicated . . . especially when her role as a spy and her feelings for Catsby Jones produced a conflict within her.

I am not going to push the idea that TNT’s “IRONCLADS” was a television hallmark or masterpiece. It was a solid 94-minute account of the circumstances that led to the creations of the world’s first two ironclads – the C.S.S. Virginia (Merrimack) and the U.S.S. Monitor – and their historic clash in Virginia waters. A part of me wished that this movie – especially the details leading to the Battle of Hampton Roads – had been a bit longer. And I am not that thrilled over screenwriter Harold Gast using a historical figure like Catesby ap Jones as the love interest of the fictional Betty Stuart. But I believe that both Gast and director Delmar Mann had created an interesting, complex and exciting narrative that was enhanced by excellent performances from a cast led by Virginia Madsen.

“MARY POPPINS” (1964) Review

“MARY POPPINS” (1964) Review

Looking at the 1964 movie about a magical nanny, one would be amazed that it took nearly 20 years to make it. I suspect that many did not predict it would become critically acclaimed. But if one is ever interested in the behind-the-scenes production of the film, one would have to read about it . . . or watch the 2013 movie, “SAVING MR. BANKS”. I am here to discuss the actual movie, “MARY POPPINS”

Based upon a selection of short stories written by P.L. Travers, “MARY POPPINS” tells the story of how two Edwardian Age children named Jane and Michael Banks, who request a particular kind of nanny after their latest one quits her job after enduring one too many pranks from the two siblings. Their father, a banker named George Banks, is too busy with his career and projecting the image of an ideal Englishman in order to pay attention to them. Their mother, although slightly more concerned about their welfare, is either caught up in the Suffregette Movement or too busy adhering to their father’s demands. After the departure of their latest nanny, Katie Nanna, Jane and Michael write a letter describing what they want in a new nanny. But Mr. Banks has different ideas – a nanny who is an effective disciplinarian – and tears up their letter.

However, the children’s letter magically reaches a woman named Mary Poppins. She appears at the Banks’ home the following morning to apply (or appoint herself) as Jane and Michael’s new nanny. Despite his initial reservation, Mr. Banks is impressed by Mary Poppins’ firm manner and hires her. With the help of friend named Bert, Mary Poppins introduces the Banks children to a new magical world. In doing so, she also manages to shake up Mr. Banks, his household and his livelihood.

I first saw “MARY POPPINS” as a child and immediately fell in love with it. For years, I have regarded the movie as one of the highlights of my childhood and one of the best films to be released from the Disney Studios. But recent criticism of Mary Poppins as a sugar-coated character of no substance, and of the film as an infantilization of P.L. Travers’ work and vision has led me to wonder if my childhood opinion of “MARY POPPINS” may have been overrated. After all, I had spent years judging the movie from the viewpoint of a child. How would I judge this movie from an adult who has spent the last ten to twenty years viewing movies with a critical eye?

As many have recently pointed out, the Disney Studios made a good number of changes to Travers’ stories. They also left out a great deal. To point out “all” of the changes and deletions would require an essay. And I am not interested in writing such an essay. Were there any aspects of “MARY POPPINS” that I disliked? Honestly? No. But there are aspects of the movie’s production that I wish could have been handled in a slightly different manner.

For quite some time, I never understood why “MARY POPPINS” was shot at the studio’s Burbank lot, instead of at England’s Pinewood Studios, where 1963’s “DR. SYN, ALIAS THE SCARECROW” and “THE THREE LIVES OF THOMASINA” were filmed. Like the two 1963 films, “MARY POPPINS” mainly featured a cast of British actors. Only four cast members were American born – Dick Van Dyke, Ed Wynn, Jane Darwell and Reta Shaw. I feel that if the movie had been shot in Great Britain, its exterior shots of the Banks and Uncle Albert’s neighborhoods and the City of London would have featured a bit more details – add more oomph to the movie’s visual British style. As for Tony Walton’s costume designs, I must admit that I found them rather charming, if not particularly mind blowing. However . . . I could not help but wonder why Mary Poppins’ skirts seemed a tad short for 1909-10 fashions. And I also end up wondering why Winifred Banks’ wardrobe seemed so limited. Unless I am mistaken, actress Glynis Johns wore only three costumes in “MARY POPPINS”. In fact, I suspect she wore one particular costume twice. And Walton designed her costumes either in yellow, powder blue or a combination of both colors. Although I found Johns’ costumes rather charming, they also struck me as a bit limited.

Although the film’s production designs struck me as a bit limited, I cannot help but admire the film’s cinematography and visual style. Edward Colman earned a much deserved nomination for his colorful and sharp photography for the film. Colman’s photography also enhanced Tony Walton’s pthe matte paintings created by Peter Ellenshaw. Since “MARY POPPINS” was filmed on the Disney Studios backlot in Burbank, Walt Disney and director Robert Stevenson not only had to depend upon Carroll Clark and William H. Tuntke’s art direction, but also the visual effects and special effects teams. But “MARY POPPINS” was set in Edwardian London. And since Disney, Stevenson and the film’s crew could not film in Great Britain, the production team had to rely on Ellenshaw’s beautiful and colorful matte paintings to add to the film’s visual look for its setting, as shown in the following images:

 

“MARY POPPINS” may not have been free of any flaws, but it still remains one of my favorite movies of all time. I had earlier pointed out that some critics have pointed out the movie’s failure to be completely faithful to Travers’ stories. Honestly? I do not care. It would have been near impossible for any screenwriter to be completely faithful. Travers did not write a single novel. She wrote a series of short stories and novellas. And since it is impossible for a screenplay to be completely faithful to a novel or stage play, what on earth made these critics believe Bill Walsh and Don DaGradi could have been completely faithful to Travers’ stories and still fashion a single narrative for the film? Ridiculous!

Personally, I am amazed that Walsh and DaGradi managed to wring a single narrative out of so many short stories in the first place. That must have not been an easy task. As the 2013 movie, “SAVING MR. BANKS”, had pointed out, Mary Poppins’ purpose within the Banks’ household was to save George Banks and his relationship with his children. And she did this in the most interesting way. Mary Poppins used her role as the children’s nanny to indirectly affect the family’s patriarch. Instead of utilizing traditional means to care for the children, Mary Poppins exposed Jane and Michael to her world – using magic to clean the nursery, an excursion into a sidewalk chalk drawing of the English countryside, and an afternoon tea party on the ceiling with Mary Poppins’ Uncle Albert. The children’s revelations of their activities naturally shook up Mr. Banks, along with the magical nanny’s subversive and cheerful impact upon the Banks’ household.

Unable to accept Mary Poppins’ impact upon his family and servants, Mr. Banks threatened to fire her. And this is where Mary Poppins, as the film’s trickster, pulled off a pièce de résistance. Before Mr. Banks could fire her, Mary Poppins managed to manipulate him into agreeing to take the children on an outing to his bank. However, the night before this outing, she decides to sing a song to the children about an old beggar woman who sits on the steps of St Paul’s Cathedral, selling bags of breadcrumbs to passers-by for twopence a bag,so that they can feed the many pigeons that surround her. Between the song and the children spotting the Bird Woman on their way to their father’s bank set in motion the chaos that followed and Mary Poppins’ plan to save Mr. Banks’ relationship with his family. Brilliant.

If the narrative that Walsh and DaGradi had created from Travers’ short stories had struck me as brilliant, the songs written by Robert and Richard Sherman seemed even more so. Aside from the performances, the Sherman Brothers’ songs seemed to be the heart and soul of the film. If someone was to ask me which song was my favorite, I honestly could not answer that question. Aside from two of them, I found most of their songs very memorable . . . even to this day. One of their songs – “Chim Chim Cher-ee” – was nominated for the Best Song Oscar and won. However, I must admit to being surprised that the beautiful and rather haunting “Feed the Birds” failed to garner any kind of nomination or award. Perhaps it was not as fully appreciated back in 1964-65 as it is today.

Both “Jolly Holiday” and </i>”Step in Time”</i> were not only entertaining songs, but they also provided the background for some very entertaining dance numbers. The first featured the very agile Dick Van Dyke and a quartet of animated pigeons. I found this dance sequence both funny and a joy to watch. You have to see it to believe it. As for the second song, it was featured in a show stopping dance routine that involved Van Dyke, Julie Andrews . . . and chimney sweeps. Between the song, the dance routines choreographed by the husband-and-wife team of Marc Breaux and Dee Dee Wood, and the London rooftops background, the entire sequence is one of the film’s highlights.

Another addition to the magic of “MARY POPPINS” proved to be its cast. The movie featured excellent voice performances in the chalk picture sequence from the likes of J. Pat O’Malley, Marni Nixon, Dallas McKinnon, and Alan Napier. Even Julie Andrews and David Tomlinson also provided voice performances. The supporting and cameo performances featured in this film were marvelous. The movie included excellent performances from Reginald Owen as the cankerous Admiral Boom; Elsa Lancaster as the disgruntled Katie Nanny; Arthur Treacher as the kindly Constable Jones; Arthur Malet as Mr. Dawes Jr., one of the board members of the bank that employed Mr. Banks; Hermione Baddeley and Reta Shaw as Ellen and Mrs. Brill, the Banks’ gregarious maid and cook; and a poignant cameo by Jane Darwell, who was convinced by Disney to make a brief appearance as the Bird Lady.

“MARY POPPINS” marked the second teaming of Karen Dotrice and Matthew Garber, who portrayed the magical nanny’s charges, Jane and Michael Banks. It seemed pretty simple to me why Disney had used this pair in three movies. Not only were they were first-rate actors who more than kept up with the likes of Julie Andrews, Dick Van Dyke and David Tomlinson; they also had a great screen chemistry. In P.L. Travers’ books, Mrs. Banks was an easily intimidated woman who could barely maintain control of her household. In this movie, Mrs. Banks was a woman more occupied by her suffragette activities than her children. And she was portrayed by actress Glynis Johns. The latter gave a marvelous performance as a woman who seemed to hid her inability to protect her children from their father’s neglect with a few sympathetic words and her own brand of neglect.

If I had to select the most complex character in this movie, it would have to be Mr. George Banks of 17 Cherry Tree Lane and the Dawes Tomes Mousley Grubbs Fidelity Fiduciary Bank. Thanks to actor David Tomlinson in his first appearance in a Disney film, movie audiences were treated to a superb performance. Tomlinson skillfully transformed George Banks from a highly driven and disciplined man who was obsessed with order to an affectionate family man who had found a new lease on life. It almost seems criminal that the actor never received any kind of acting nomination for his performance.

Unlike Tomlinson, Dick Van Dyke did receive a Golden Globe nomination for Best Actor, thanks to his performance as Bert, Mary Poppins’ closest friend and jack-of-all-trades. Whenever Van Dyke’s performance in “MARY POPPINS” is mentioned, people seemed to comment on his Cockney accent. Granted, it was not perfect. But I have never considered it to be a travesty. I have noticed that whenever he spoke words with a long vowell, his Cockney accent seemed exaggerated. Otherwise, I had no problems. And if someone like Sean Connery can win an Oscar for portraying an Irish immigrant with a Scots accent, I see no reason why Van Dyke’s portrayal of Bert should only be condemned for a questionable Cockney accent. Besides . . . accent aside, Van Dyke gave a superb performance in so many other ways. He captured Bert’s charm, wit and a slight talent for manipulation with such perfection. Van Dyke was also given the opportunity to portray another character in the film – namely Mr. Banks’ elderly boss, Mr. Dawes Senior of the Dawes Tomes Mousley Grubbs Fidelity Fiduciary Bank. How often does one find an actor in his late 30s effectively portraying a 90-something year-old man? In my personal experience, very rarely. And to put the cherry on the icing, Van Dyke was never criticized for his British accent, while portraying Mr. Dawes . . . for good reason. Although there have been hints of his talent as a song-and-dance man in his first television series, “THE DICK VAN DYKE SHOW”, this movie really provided an opportunity to convey how truly talented he could be.

Julie Andrews managed to capture the big prize for her portrayal of the film’s leading character, Mary Poppins. She won the Academy Award for Best Actress. Whereas many were distracted from Van Dyke’s performance because of his accent, others have lamented on how Andrews’ portrayal of the magical nanny seemed a far cry from her literary version. Granted, the latter was a plain-looking woman, somewhat more pompous and strict. Although Andrews’ Mary Poppins was more beautiful looking and somewhat warmer, she could still be quite sharp-tongued – especially when disciplining Jane and Michael. Andrews also did a great job in conveying Mary Poppins’ no nonsense behavior and massive talent for emotional manipulation. That one scene in which the magical nanny manipulated Mr. Banks into taking his children on an outing to his bank was just a joy to watch. Thanks to her skillful and award winning performance, Andrews managed to convey the reason why Mary Poppins is regarded as a trickster.

What else can I say about “MARY POPPINS”? Over fifty years have passed since the movie’s initial release and it is still – at least to me – a magical movie to watch. Yes, it had a few flaws. What movie did not? But thanks to P.L. Travers’ stories, Robert Stevenson’s marvelous direction, Robert and Richard Sherman’s music, the movie’s visual effects teams and the superb cast led by Julie Andrews and Dick Van Dyke; “MARY POPPINS” remained timeless and magical as ever.

 

Chicken à la King

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Below is an article about the dish called Chicken à la King

CHICKEN A LA KING

Have you ever come across one of those dishes in which there are so many origin tales about it that it keeps your head spinning? For me, one of those dishes is Chicken à la King. And what I find so amazing about this it that the dish has always strikes me as so simple, it would never occurred to me that it had such a complicated origin.

Chicken à la King is a very simple dish to prepare. It basically consists of diced chicken in a cream sauce. The dish is prepared with sherry, mushrooms, and vegetables. And it is usually served over rice, pasta, or some kind of bread . . . like toast. It has become very popular with some to serve it over biscuits. The reason behind the complication over the dish’s origin is that several people have claim responsibility for creating Chicken à la King and no one has been able to confirm which origin tale is true. Here are some of the claims for the dish’s origin:

*Charles Ranhofer, chef of Manhattan’s Delmonico’s restaurant had created the dish sometime during the 1880s. According to this claim, Ranhofer created the dish for American race horse breeder/trainer, Foxhall P. Keene, and the dish was originally called Chicken à la Keene.

*According to another claim, someone cook at Claridge’s Hotel created the dish in 1881 and named it after Keene’s father, American stockbroker James P. Keene.

*George Greenwald of the Brighton Beach Hotel in Brighton Beach had created the dish in 1898 and named it after hotel patron E. Clarke King II and his wife.

*William “Bill” King , a cook at the Bellevue Hotel in Philadelphia, had created the dish sometime during the 1890s. When King died in 1915, several newspapers gave him credit for the dish. Most people believe this is the most plausible origin of the dish.

Although the recipe for the dish was included in cookbooks throughout the first two decades of the 20th century, like 1906’s “The Fanny Farmer Cookbook”, Chicken à la King really became popular during the middle to late 20th century. Regardless of who was truly responsible for the creation of Chicken à la King, below is a recipe for it from the Betty Crocker website:

Chicken à la King

Ingredients
1/2 cup butter or margarine
1 small green bell pepper, chopped (1/2 cup)
3 ounces fresh mushrooms, sliced (3 ounces)
1/2 cup Gold Medal™ all-purpose flour
1/2 teaspoon salt
1/4 teaspoon pepper
1 1/2 cups milk
1 1/4 cups Progresso™ chicken broth (from 32-ounce carton)
2 cups cut-up cooked chicken or turkey
1 jar (2 ounces) diced pimientos, drained

Preparation
1. Melt butter in 3-quart saucepan over medium-high heat. Cook bell pepper and mushrooms in
butter, stirring occasionally, until bell pepper is crisp-tender.
2. Stir in flour, salt and pepper. Cook over medium heat, stirring constantly, until bubbly;
remove from heat. Stir in milk and broth. Heat to boiling, stirring constantly. Boil and
stir 1 minute. Stir in chicken and pimientos; cook until hot. Serve over rice.

Note: You can serve Chicken à la King over rice, any other kind of past, toast or even biscuits. The choice is yours.

Favorite Films Set in the 1800s

Below is a list of my favorite movies set during the decade between 1800 and 1809: 

FAVORITE FILMS SET IN THE 1800s

1. “Emma” (1996) – Gwyneth Paltrow starred in this very entertaining adaptation of Jane Austen’s 1815 novel about an upper-class Englishwoman’s attempts to play matchmaker for her friends and neighbors. Co-starring Jeremy Northam, the movie was adapted and directed by Douglas McGrath.

2. “Master and Commander: The Far Side of the World” (2003) – Russell Crowe and Paul Bettany starred in this Oscar-nominated adaptation of several of Patrick O’Brian’s Aubrey–Maturin series. The movie was co-written and directed by Peter Weir.

3. ‘Buccaneer’s Girl” (1950) – Yvonne De Carlo starred in this entertaining romantic adventure about the relationship between a Boston singer and an elite sea trader/pirate in old New Orleans. Directed by Frederick de Cordova, the movie co-starred Philip Friend and Robert Douglas.

4. “Captain Horatio Hornblower” (1951) – Gregory Peck and Virginia Mayo starred in this adaptation of three of C. S. Forester’s Horatio Hornblower novels. The movie was directed by Raoul Walsh.

5. “Mansfield Park” (1999) – Patricia Rozema adapted and directed this adaptation of Jane Austen’s 1814 novel about an impoverished young woman living with her wealthy relations. Frances O’Connor and Jonny Lee Miller starred.

6. “The Duellists” (1977) – Ridley Scott directed this adaptation of Joseph Conrad’s 1908 short story, “The Duel” about a small feud between two Napoleonic officers that evolves into a decades-long series of duels. Keith Carradine and Harvey Keitel starred.

7. “Lloyd’s of London” (1936) – Tyrone Power was featured in his first starring role as a young man who worked for the famous insurance corporation, Lloyd’s of London, during the Napoleonic Wars. Directed by Henry King, Madeleine Carroll and George Sanders co-starred.

8. “Carry On Jack” (1963) – Bernard Cribbins, Kenneth Williams and Juliet Mills starred in this eighth entry in the “Carry On” comedy series, which is a spoof of the high-seas adventure genre. Gerald Thomas directed.